THE 13TH EDITION OF SIERAAD ART FAIR (SAF) WILL BE THE MOST INTERNATIONAL ONE YET. SAF IS THE ONLY PLATFORM IN THE NETHERLANDS WHERE PROFESSIONAL CONTEMPORARY JEWELLERY DESIGNERS FROM HOME AND ABROAD SELL THEIR WORK DIRECTLY AND IN PERSON. TO ADD LUSTRE TO THIS EDITION OF SAF THERE WILL BE SOME SPECIAL EVENTS AND STRIKING PRESENTATIONS.

Amsterdam The Netherlands is famous for it´s jewellery designers who are exceptional due to the use of unusual materials. Ted Norton chose chewed-up chewing gum. Julia Walter works with bones and clay Noon Passama uses human hair Terhi Tolvanen collects twigs from the forest. They are all admired models for the Irish jewellery designer Eily O´Connell. This month she is commencing as artist in residence in the NDSM Treehouse where she will get down to work with dead moths, pheromones and linoleum prints of enlarged insects. In her exposition ‘Pheromones’ which will be on view on Friday 25 april from 17.00pm in the containers of the NDSM Treehouse, she experiments in true Dutch traditon with unusual materials. “ » I feel a strong bond with The Netherlands because I am constantly searching for the bounderies of what a jewellery should be. As I am designing a new jewellery line , and am definitely not going to use much silver or other traditional materials. I chose this place on NDSM specifically for the strong artistic community which is active here and the freedom to experiment with unusual materials. During her stay on the NDSM she searches like a beachcomer for materials, she recently found laboratorium phials (test tubes) which she strung together to make chains of. The theme in O’Connells work is genetic modification. In her city of abode, Dublin, she travels to the coast regularly to search for materials on the beach.The catch is usually pieces of crab, seaweed or (her biggest pride) a fossilized beetle. Black is the preferred colour but Gothic is not how she describes her style. « It’s more sinister. I select different pieces of nature and bring them together, which gives an alienating effect. There is something captivating and mystic about it. In the past she did a project on the death of bees, whereby she immortalized these indispensable flying insects in various jewellery. To further the research on insects she visited the University of Amsterdam. Here she met scientist Astrid de Groot she was researching the sexual behaviour of moths. The influence of Pheromones was apparently enormous, females and males with enough of this substance proliferated profusely. Less advantaged moths did not stand a chance. Designer Eily took dozens of dead moths along to use as subjects for her jewellery line. She arranged the moths in differnet positions on top of each other and took photos with her macro lense. It supplied surprisingly graphic images. She enlarged the countless legs on lino and modelled them into necklaces and bracelets.

Usually, Eily O’ Connell’s jewellery work mirrors crisis in the natural environment. ‘Pheromones’ mirrors the evolution of moths and thus a more positive subject told through limited edition lino prints.The theme came about from contacting Amsterdam based entomologists to find out what interesting insect species they were studying. The subject was open to whoever responded and the only stipulation is that they would be studying an insect new to Eily’s work.Astrid Groot from the Institute for Biodiversity and Ecosystems Dynamics in the University replied back to an email. She explained how she is studying the sexual behavior of moths, to understand how this contributes to speciation (the evolution process by which new biological species arise) and thus biodiversity.Pheromones are emitted by moths in order to attract new mates and certain species give off specialist perfumes. As it is so important for us to understand evolution, the work Astrid and her team for their work is highly admirable.We often think of moths are purely cardigan eating pests. Maybe now you will see that they are indeed a beautiful species with fascinating complexities.As O’ Connells jewellery deals with darker notes, maybe once they are transported home to her native Ireland, they may evolve into a new species on route…

Jeehyun Chung, a recent graduate from Edinburgh College of Art, makes oriental and contemporary style jewellery inspired by blending moments from travels across Europe with traditional Korean art and crafts

« By extending the body with jewellery you can design your identity and express your personality. This fundamental relation between body and jewellery was source of inspiration for my « BodyJewellery – JewelleryBody » collection . In some designs I focused on the appearance of the material, in others I gave priority to how the jewellery is made or how to wear it. »

« Referencing the disruption of nature’s order through my work, I create new life forms that appear as direct replications of recognizable organic matter yet they are not quite as they seem.Having accumulated an assortment of natural forms and materials based on their intrinsic characters, the process of casting helps me to amalgamate these ever evolving hybrids, deceptively leading to mistaken identity. By acting as the divine creator, I am mimicking the power we have to alter nature’s path, which ultimately leads to chaos and the sinister presence lurking throughout the work.«

« Since I can remember I have been a bit of a magpie, hoarding incessantly anything miniature or eclectic that has caught my eye. Born and brought up in Northern Ireland, with parents involved in the Antique business it was moving to Edinburgh in the late eighties to attend Edinburgh College of Art that I became an avid collector of ephemera. As my time at Art College progressed it became clear that the things I was collecting were becoming the inspiration for my work and this is when I started to use these actual found objects in my work. Straight after graduation I set up my business and have exhibited internationally ever since. My work has been featured widely in press and publications, is represented in many public and private collections and in 2007 I was shortlisted for the prestigious ‘Jerwood Applied Arts Prize – Jewellery’.«

« …Colour has always been a significant feature of her jewellery. By introducing the translucent qualities of silicone with bright pigments, alongside the shifting reflective surfaces of precious metal and plastics, she conveys the qualities of underwater life forms. »

« Renush is the creation of designer and maker Renáta Koch, a graduate in Footwear and Accessories from Cordwainers College at the London College of Fashion. Taking her inspiration from the contours of the human body and the characteristics of materials used, Renáta uses traditional techniques to create thoroughly modern and highly original pieces »

« I was first inspired by a tutor to pursue a career in jewellery design. I loved to make small sculptures and turn them into playful wearable objects. From the moment I was introduced to enamelling at Edinburgh College of Art I immediately loved its instantaneous effects. I find the enamelling process fascinating from applying the enamel to metal to firing it in a kiln. The most satisfying part for me is when the layers of rich colour are rubbed back to reveal patterns and textures underneath. My love for the city is the inspiration behind my work. I initially paint my ideas onto enamel panels and then translate these drawings into tactile, sculptural forms that play with line,texture and colour. My recent collection consists of earrings, pendants and brooches made from oxidised silver, iron and enamel. I oxidise the silver to create an industrial feel which compliments the bold colours that feature throughout my jewellery designs.«

« Veiled jewellery reflects my assumption that although certainty is often required in modern society, ambiguous expression has been the most distinctive characteristic found in Japanese values and religious beliefs«

German jewelry designer, Nora Rochel (http://www.nora-rochel.de) is going to present her new work at the Inhorgenta Trade fair in Munich from 10th until 13th of February, at hall C2 stand number 538. This year she is exhibiting together with Leonore Jock (http://www.leonorejock.com) and Stephanie Hensle (http://www.stephaniehensle.com). Here is the invitation card with exceptional decoration created by Stephanie Hensle :

« People wear jewellery for very different reasons – from habit or from a form of self- respect, when one has to dress for a certain occasion, but also in memory of a beautiful moment or a certain person. Jewellery is also worn simply because one is happy to be alive, from the need for something new and in anticipation of things to come. Just as people wear jewellery for different reasons, they also differ in taste and physical appearance. Some people can spend more money on jewellery than others. But where is a contemporary selection to be found that, as far as diversity is concerned, surpasses all other forms of presentations in the way of ideas, materials and price range?

SIERAAD was set up in 2001 as a platform for people who have chosen a fantastic profession in which they can realize all their ideas but who, being self- employed, have only limited possibilities to put their work on the market. The need for such a platform is apparent from the growing number of participants from many different countries who would like to present themselves. This year the work of independent jewellery designers from more than ten countries will be on show. The direct confrontation with the public does not only serve a necessary, economic purpose – it may also result in some feedback regarding the content of their work, which in turn may lead to new developments. Realizing this edition of SIERAAD Art Fair means that the ideal form of the fair has been realized at the same time. With its characteristic outline and beautiful open space the former gasholder on the premises of the Amsterdam WesterGasfabriek is the right spot with the right atmosphere. The location is spacious enough to create an individual place for each designer while still maintaining the coherence. The fair displays jewellery in all its manifestations and furthermore, presents a small number of goldsmiths that design silver plate.

What goes for vases or paintings goes for jewellery as well – enough is never really enough. Obligations and restrictions are self-imposed values. What really matters is the joy that can be experienced from a work of art. Apart from the wealth of forms and colours, what is especially important are the associations one may have with it and the way one can live with it. That is why the fair is just as interesting for people who seldom buy jewellery as for collectors of these items of cultural significance. Unique objects in a variety of price ranges are to be found here as well as jewellery made in small numbers.
By means of a few centrally located presentations the range of the concept ’jewellery’ is shown. This year it will be an exhibition in which jewellery designers write history, entitled “Medieval Mystery solved”. Jewellery can also symbolize loss and sorrow, which becomes clear from the impact of “Bomb Wreck Jewellery”. As organisers of this fair, Astrid Berens and Maarten Bodt are aware that an increase in new talent is crucial for the profession of jewellery design. Therefore, this year they offer space to students of the section Jewellery & Product Design of the College of Arts in Maastricht. Using new computer technology jewellery designers associated with the Formativ from Düsseldorf make unexpected possibilities and jewellery tailored to the individual visible and tangible. For those who want to increase their knowledge about jewellery there will also be a stand with books on this subject.
In short, everybody can find something to his liking on this edition of SIERAAD Art Fair, if only, for starters, a personal remembrance of this confrontation with the many-sidedness of contemporary jewellery. » (Marjan Unger, art historian and publicist)

NEW TRADITIONAL JEWELLERY GROWS INTO A BIENNIAL EVENT THEME INTERNATIONAL DESIGN CONTEST AND EXHIBITION IN 2010: TRUE COLOURSStarting with the fourth edition, New Traditional Jewellery (NTJ) will become a biennial event. The three preceding editions of this international design contest and the ensuing travelling exhibitions have been proof of the success of this project and its right to exist. The quality requirements as to the nature and scope of and entries for the event are becoming increasingly strict. In order to meet these requirements in a professional manner NTJ will become a biennial design contest.The next edition will be in 2010. For the design contest and exhibition 2010 the technical jury of New Traditional Jewellery (NTJ) has chosen the theme ‘True Colours’ because literally as well as figuratively this theme offers considerable scope for inspiration. The 2010 theme: ‘True Colours’ Showing your true colours means that you show what your real attitudes and qualities are. You can approach True Colours from a social perspective; society is full of topical colour coding. Other examples may be found in heraldry, folklore and science.True Colours refers to colours and pigments. Over the centuries the palette of art history has been determined by precious mineralogical and biological pigments that were obtained from ground semi-precious stones, processed metals, and earth, seeds and plants – materials that did not always bear the test of time; in the course of time white lead e.g. turned black. The link between the theme ‘True Colours’ and contemporary jewellery design is obvious. From time immemorial the significance and appreciation of jewellery have pre-eminently been determined by colour. From the use of gold or silver to enamels and mineralogical and biological stones: colour is a language. In the seventies and eighties it became manifest how rich this language is. The application of textiles and Perspex in jewellery led to a new form language and use of colour – an important stage in the emancipation of contemporary jewellery design. True Colours is about the history, meaning, value, magic and power of the language of colour. The importance of NTJ For every edition of New Traditional Jewellery an inspiring theme is chosen. Participants are challenged to reshape historical or traditional jewellery. They do not submit just their design – they must also submit pictures and information about the historical or traditional ornament on which their concept is based. This is the characteristic added value of NTJ: past and present are bridged by artists in a very personal way. A technical jury selects fifty to seventy designs which are on show in an exhibition during the SIERAAD fair, where the winners of NTJ are also officially announced. When taking part in this contest, jewellery designers from all over the world make use of a new platform where they give shape to their vision of a tradition and a theme. This design contest and the ensuing travelling, international exhibition have become a showcase for developments in contemporary jewellery in the new millennium. Foundation Art in Business is the initiator of New Traditional Jewellery. Its objective is the promotion of knowledge and appreciation of the art of jewellery in the business world, among private individuals and civil authorities. In this ways FAB wants to bridge the gap between artists and buyers and between tradition and today’s world.

« Ireland’sEily O’Connell, a 2008 graduate of the National College of Art and Design, crafts brooches and rings using cast silver, semi precious stones, wisdom teeth, found objects, cut glass and enamel. The jewelry has a rough, organic look – almost like it has been excavated from a dark, cave-like space and as the artist describes, they are “not quite as they appear.«

« As with many I have recently become very familiar with environmental issues affecting global societies. Human intervention is complicit in this process. I have specifically referenced genetic modification, regarding it as one of the most insidious methods employed to disrupt nature’s order.
Having accumulated an assortment of natural forms and materials based on their intrinsic characteristics I have created assemblages, mainly brooches which appear as replications of these organic forms yet are not quite as they appear.
The process of casting has enabled me to cultivate new species or hybrid types by means of clever amalgamation. Selections of indigenous woods have been modified to incorporate insect claws, which often grasp a piece of coloured stone or glass.
Counterfeit and deceptive, any recognition is but mistaken identity. « (Eily O’ Connell)

Brooch ‘purple haze’ Silver, cast and oxidised with amethyst

« My thesis was about climate change and how art can illuminate ecological ruin. Due to my constant thinking and writing on this subject, my work evolved into highlighting genetic modification. It was a natural progression as I was marrying different species of plants and creatures to cast and it was a subject I was interested in emphasizing. The fact that it is a threat to our agriculture, our biodiversity and a possible risk to our health was important for me to voice. Henceforth, the thematic body of my work reflects on this matter.I started collecting and exploring the organic qualities in the natural matter I foraged from my environment, wherein, I observed the decorative qualities of each subject and combined them to form new ‘Hybrids’. The found materials dictate these forms and through juxtaposition, I artfully connect disparate elements. However natural the assemblages look, things are not quite what they seem and I enjoy reactions when I tell people what some have been cast from (like my crab claws) or what is set in some pieces (like teeth). To me, all the interesting materials I collect are the real diamonds of the land and it is time that people realized how precious and magnificent nature is and that messing with it will never be a battle won by us. » (Eily O’ Connell)